| | | | | example of what she witness when spying on him |
| | | | | with her father, Rigoletto who points out to her |
| | | | | how she is far from being the only woman in his |
| The aria "La Donna E Mobile" from Verdi's opera | | | | life. Gilda however despite seeing duke Mantua in |
| Rigoletto is one of the merriest melodies ever | | | | the company of another women as he sings "La |
| written as there is a carefree feeling to it of the | | | | Donna E Mobile" does not loose her affection for |
| rich duke Mantua and his attitude toward the | | | | him and even sacrifices her own life so that she |
| many women he has seduced. He being one | | | | might save his. This being what she does when |
| whose wealth and spirit lend themselves to the | | | | she substitutes herself for duke Mantua, whom |
| life of one who does nothing but go about seeking | | | | Sparafucile believes he has killed when in fact he |
| enjoyment from as many women as may cross | | | | has assassinated Gilda instead. |
| his path with intensions of sharing in his desires for | | | | |
| carnal pleasure. "La Donna E Mobile" (meaning | | | | It being afterwards that Sparafucile delivers on to |
| "woman is capricious") being duke Mantua's motto | | | | Rigoletto, Gilda's body in a sack, whom Rigoletto |
| in life, as its words indicate in the form "woman is | | | | at the time believes to be that of duke Mantua |
| capricious like a feather in the wind, full of accent | | | | yet it is as he is contemplating how he has had |
| in her thoughts, always a kind lovely face, he who | | | | his enemy killed that he hears from a distance the |
| trusts her will always be miserable yet he who | | | | aria "La Donna E Mobile" being sung by the man |
| does not will never know love" yet it is in the | | | | he believes to be dead. It is the sound of this |
| music that one can feel the person this character | | | | very aria and the voice he hears singing it that fills |
| is. It being a music that captures the essence of a | | | | Rigoletto with horror, for if that is duke Mantua |
| man capable of falling in love with the ease of a | | | | who sings it then who could the person in the |
| gaze in any direction that might include a lady to | | | | sack be? It is with dread that Rigoletto looks in |
| match his taste. | | | | the sack to discover that the person he thought |
| | | | | was his dead enemy was the body of his |
| As for the story of Rigoletto, it is the narrative | | | | daughter, Gilda who has not yet died but does so |
| of a hunchback who lends his name to the opera | | | | in his arms as he realizes that he has done none |
| and his relationship with his daughter, Gilda whom | | | | other than have his own daughter; whom he |
| he wishes to protect from her lover, duke | | | | claimed to love executed. |
| Mantua. It being he who Rigoletto does not | | | | |
| approve of for his daughter, giving his womanizing | | | | I, for my part would say that the aria "La Donna |
| ways yet he is unable to convince his daughter | | | | E Mobile" is one of the typical lady's man. As there |
| that perhaps her interests are not best served in | | | | is a certain air of confidence about it of one who |
| her romance with him. Rigoletto on the one hand | | | | takes to the conquest of many a woman yet is |
| is a protective father yet some might say that | | | | fully aware that like men; they too are subject to |
| he is overly, as he takes it upon himself to have | | | | fickle changes that can cause hurt; specially for he |
| the man his daughter claims to love assassinated | | | | who takes to the ways of love too deeply. |
| by a hired killer named Sparafucile. Of course in all | | | | Rigoletto however comes to see this aria as one |
| this one could also say that Rigoletto feels hurt | | | | that mocks him and his daughter, whom duke |
| upon his pride as he sees a member of the upper | | | | Mantua has shared carnal knowledge with and at |
| classes taking advantage of his beloved daughter, | | | | the end sings out as if to remind Rigoletto that he |
| Gilda. | | | | no matter what Rigoletto did would always get |
| | | | | the better of him. All as Rigoletto observes for |
| Gilda however for her part though she does not | | | | himself that all he has managed to accomplish is |
| always approve of duke Mantua, is madly | | | | the act of killing his own daughter instead of the |
| enamored with him as he represents everything | | | | man, he came to despise; who sings this aria as if |
| to her in ways of love that lead her to forgive all | | | | in triumph over him. |
| his faults that include, infidelity. This being a clear | | | | |